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From bars 5-8, the tonality of the phrase develops some ambiguity, as
seen in bar 5 with the transition from the dominant chord to the
minor dominant.
The only real difference in rhythm from the bass part is the addition
of a semiquaver pick up to the 4th beat of each bar. This change, while
very minor, drastically emphasizes the movement of the melody,
particularly when heard in the rubato performance style in which the
piece is composed for. This extra note is most often used as a passing
note between chords, which creates a very strong transitional effect,
and eliminates the otherwise block chord movement.
Throughout the piece this constant rhythm is a technique which is
extremely effective for a piece which features harmonic
development.
From bar 7 to the end of the piece, the manipulation of inversions is
the technique used to most effectively convey the harmonic direction.
The chord progression in each two-bar phrase is repeated until the
final tonic chord, and exists as a I6 IV - V6 I, VI bII - V7 I
progression. This again features the Neapolitan 6th in a similar
capacity as the opening bars, as well as featuring both tonic chords
on the first and last beats of each bar. Each phrase is also completed
with a variant of the perfect cadence, which truly solidifies the
tonality of each movement. The use of variant inversions is what
truly highlights the harmonic progression in this section of the piece,
as the transition between inversions and root position chords, as
seen in the bass part of bar 7 between beats 1 and 4, aids the
harmonic contour, and the transition to a root Neapolitan 6th
emphasises its use both as a substitution and as a transitional chord.
While this piece features a somewhat limited variation of chords, the
manipulation of various harmonic techniques in order to execute
them effectively is extremely prudent.
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